The interior of the Helmhaus in Zurich, ordinarily sun flooded, was almost hermetically sealed off from the outside world during the course of Marie José Burki’s exhibition. The all-encompassing darkness, combined with a silence broken only at intervals, created the feeling of a place outside time. Entering the black cubes of the gallery rooms, one was irresistibly drawn in by seven video projections that filled the walls, panoramas of an eternal holiday: Images drifted slowly past, at times almost static, depicting moments leading up to or following a wild party, its details left to our